text:
The Art of Losing
By Anand Agneshwar
I once represented a valedictorian public high school student, precluded from expressing her religious views in her graduation speech, in a First Amendment challenge in Nevada federal court. We had won in the district court but lost on appeal — predictably, I might add, because of Ninth Circuit controlling law. We were angling for the United States Supreme Court and were now awaiting a decision on our petition for certiorari. To lose would be final vindication for the other side. If the court granted cert we'd start a whole new ballgame. Our excitement grew each day as the universe tossed tantalizing signs our way. The court required the other side to respond to our petition. Scotusblog.com listed ours as a case to watch. The court conferenced our case once. Then again. Clearly (we thought) the justices were taking our petition seriously. Of all the petitions for cert filed, could ours be one of the handful that would be heard? But then, after what seemed like an eternity, the curt denial came. We had lost. What now?
I thought about this recently when, last year, I sustained three losses in a row, in three different cases, in three different courts. (Just in case you are an in-house counsel thinking "I better not hire this guy," I've had my share of wins too! But litigators tend to dwell on the losses.). There are 94 federal district courts, 13 federal appellate courts and hundreds of state trial and appellate courts across the country. Each day, the judges of those courts decide motions, preside over trials and hear appeals. With each of these decisions, one side wins and the other loses.
Losing is very much a part of a litigator's life. And when we lose, we are supposed to just move on. We spend a good part of our days advising clients on the odds of winning and losing. Sometimes we win when the odds are against us. Other times what we swore was a sure thing ends in terrible defeat. Tallying up wins and losses tells us virtually nothing about a lawyer's skills. A lawyer who has practiced more than a couple of years and claims to have never lost is either fibbing or extremely selective in choosing cases (or a government prosecutor.). And God knows there are many opportunities to lose, from the prosaic of a routine discovery dispute to the profound of a vigorously fought trial or appeal.
Losing is routine and we are supposed to accept it with grace and aplomb because we have played our part in a system that transcends our particular case. Lawyers are officers of the court, part of a larger than life adversarial process designed to ensure that the truth prevails in the end. We are supposed to be advocates for hire, not true believers. The label "true believer" is, in fact, often tossed around with some measure of disdain. Even when losing, we are supposed to feel assuaged that the system has played itself out.
Judges often expect lawyers to approach their work in this philosophical and detached manner. Your motion for summary judgment, that may have taken years to develop and write, as often as not ends with the judge declaring from the bench the single word "denied." You are then expected to move right along to the administrative details of what's next. "Now that we have dealt with your summary judgment motion, let's talk motions in limine and a timetable for submitting jury instructions. And how many witnesses will you be calling at trial anyway?" No break. No empathetic words. Losing is a part of the process so accept it and move on.
This attitude expected of us makes some sense. If as lawyers we didn't believe in the adversarial process we would be pulling our hair out a lot more than we already do in this high-pressure profession.
Yet at a deeper level this description of lawyers and lawyering does not do justice to who we are and what we do. A good and effective lawyer is a true believer. When the preparation is done and you enter the courtroom about to do battle on the front lines, you had better believe your own words. And most of us do. The best lawyers advocate with passion. Passion does not mean loud. It does not mean flashy or flamboyant (necessarily). Passion comes from the credibility of belief, which in turn comes from internalizing our clients' problems as our own. It comes from the pride of developing an off-the-wall argument that, though a long shot, is surely right. Passion means not just believing you are right but wanting to persuade others.
We are therefore deflated, emotionally worn out, even crushed, when we lose. We want a time-out before moving on to talk about how many days a trial will last. We want colleagues, family and friends to nod their heads when we rail about the injustice of it all. We lose sleep, visiting again and again in our heads what we could have done differently. We lash out at a system that often gives us good reason to rationalize our losses. Sometimes we lose because we are out-lawyered. Sometimes we are foiled by our own strategy that backfired. Sometimes judges may just get it wrong.
This does not mean we can cry foul and attack the system by which we are required to defend. Litigators typically do not, for example, lash out at the "so-called judge" or call the hearing that defeated us a sham or a disgrace. As lawyers vindicating an adversarial system we are not allowed to wallow in our defeats. We are expected to get over it, pick up and move on. And move on we do. Often there is some next step to which we can direct our passion. There may be an appeal, a motion for a new trial, a plea to a legislature.
But sometimes there is no next step. Sometimes losing is losing, once and for all.
That's the way it was with my cert petition. No more appeals, no motions for rehearing. No legislative fix. No next steps at all. Yes I felt crushed. Yes I felt deflated. But then, as the press of other work came into clearer focus, I began to persuade myself that our position would be vindicated in the end, not in my case but maybe in some other. Not now but maybe well in the future. Because the system, though imperfect, is the best we have, and things must turn right side up in the end. Right?
Anand Agneshwar


text:
Q: How to arrange points for plotting a closed polygon? I would like to ask how to arrange points to plot a closed polygon.
In my application I will have a collection of points that describe a shape that might be convex or concave - and I would like to draw the polygon. The problem is that the order of the points is such that a straightforward plot command will not generate the polygon I want.
For example:
dtheta = pi/150;
theta  = (-pi:dtheta:(pi-dtheta))';
X1   = cos(theta);
X2   = sin(theta);
[n1,In1]=sort(X1);  % sort is intentional here
n2=X2(In1);

Now,
plot(n1,n2,'.')

gives me a circle shaped arrangement of points
However, using
plot(n1,n2)

the circle is not noticeable at all because of the order of how points are connected.
Is there a way of arranging (n1,n2) such that when plot(n1,n2) is called, a polygon can be plotted clearly, in this case a circle?

A: Just don't sort first. Instead, do
dtheta = pi/150;
theta  = (-pi:dtheta:(pi-dtheta))';
X1   = cos(theta);
X2   = sin(theta);
plot(X1, X2);

Note this will not close the polygon, since your theta doesn't "go all the way around". If instead you define
theta = linspace(-pi, pi, 301); % 301 = 2 * 150 + 1 for repeated end point

You will have points spaced the same way, but now you will repeat the first point as the last point and close the polygon.

A: You could use convhull. If the given points actually define the edges of a regular polygon, or another convex shape, then all of them should be contained in the convex hull. The function returns indices to the points in an order that is suitable for plotting.
Continuing your example,
k = convhull(n1, n2);
plot(n1(k), n2(k))

recovers your original circle.

redpajama_set_name: RedPajamaStackExchange


Abstract: What is the value of political capital for individuals? Towards the end of the Pinochet dictatorship in Chile, military and civilian collaborators entered the business elite, controlling the largest and most important firms in the country. Using a novel panel dataset of board members in these firms, we document an appointment premium for those who had previously collaborated with Pinochet. After democratization, however, collaborators were removed from boards and their compensation premium disappeared. These results suggest that dictatorship collaborators earn a premium in the business world in dictatorship, but not in democracy.


text:
Vuelta to repeat 2012 formula of ten summit finishes in 2013?
Alasdair Fotheringham 2012-10-23T05:47:00Z
Race director refuses to confirm report the 2013 race will be as tough as this year
Alejandro Valverde (Movistar), Alberto Contador (Saxo Bank-Tinkoff) and Joaquim Rodriguez (Katusha) the best three of the 2012 Vuelta a Espana (Image credit: Unipublic)
Alberto Contador (Saxo Bank) crosses the line in Madrid to win the 2012 Vuelta (Image credit: Sirotti)
The final stage of the 2012 Vuelta to Madrid (Image credit: Sirotti)
Vuelta a España director Javier Guillen has told Cyclingnews that reports of an equally tough 2013 course with ten - or more - summit finishes "cannot be confirmed at this stage. The race route has not been fully decided for 2013."
Contador targets Worlds, Il Lombardia after Vuelta
Froome reflects on leading Sky at Vuelta
Wiggins should target Giro and Vuelta in 2013, Sutton says
More details on 2013 Vuelta a España route leaked
Vuelta 2013 route announced
Spanish sports newspaper AS published what it claimed was likely to be the 2013 route on Monday, with mountain top finishes dotted throughout the three-week race. It also claimed that after this year's Vuelta failed to go any further south than Madrid, the Vuelta would once again have stages in Andalusia and Valencia.
Guillen would not be drawn on the report's accuracy, saying "there are still a lot of questions in the air. Issues like how many summit finishes are not fully decided.
"We've hit on a formula in the last few years we like and we'll be sticking to that."
Since 2010 the Vuelta has opted for having at least one major high mountain stage in the first week, as well as a summit finish on the second last stage.
Guillen did confirm that the Vuelta, which starts in Galicia on August 24 and finishes in Madrid on September 18th, would have between four to six stages in the rugged north-western region, open with a team time trial between 20 and 30 kilometres long, and that there would be at least one individual time trial.
The route published by AS runs anti-clockwise around Spain, with a stage into Andorra the only trip outside of the country. After a final mountain leg through the mountains of Asturias or Cantabria, the race could feature a long transfer south for the last stage into Madrid.
Other 'highlights', according to the newspaper included a stage over the Mirador de Ezaro – where Joaquim Rodriguez won this year - and a stage round the Ponferrada World's circuit in north-west Leon.
A return to Valdepeñas de Jaén - the 'wall'- like finish in Andalusia where Rodriguez won in 2011 and Philippe Gilbert in 2010 - is apparently on the cards. So too is a new summit finish on the Collado de las Sabinas in Granada's Sierra Nevada mountain range before the Vuelta heads north and east through Valencia, Catalunya and Asturias. Guillen also did not rule out a possible return to the Angliru, last tackled in 2011.

redpajama_set_name: RedPajamaCommonCrawl


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Some years ago, the Advisory Committee to the College Counseling Certificate program at the University of California – Irvine approached Rebecca and asked her to create a course for consultants on how to work with international students. She designed the course and continues to train and mentor consultants who want to expand their work in this field. The issues she identified as being unique to international students and TCKs include:
understanding American universities and colleges from a foreign point-of-view
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Rebecca has lived in 10 countries outside of the United States. Curing that time, she was on the faculty of American international school and worked on education issues for the U.S Department of State. She currently serves on the board of directors for the Independent Educational Consultants Association (IECA) as well as the Ethics Committee. Previously she was the chairperson of the Global Consulting Committee and the Schools Committee for IECA. She is currently a member of the International Association of College Admissions Counselors (IACAC), the Higher Education Consultants Association, and the National Association of Therapeutic Schools and Programs (NATSAP). Rebecca has led the International Taskforce for IECA and is an active member on the Advisory Board of the Foreign Service Youth Foundation where she gives an annual college workshop. Rebecca has also served also on the board of directors of the Families in Global Transition. She has raised her three young adult children abroad and is very much aware of the unique issues related to TCKs. Her reputation for working with international students and TCKs is widely recognized by the families she has worked with and by her professional peers. You can read more about her bio here.
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Half Skull Mask: So this year for Halloween my family decided to remake an old family dress-up photo, and I was to be a skeleton. Not keen on wearing a tacky store bought skeleton mask I decided to make my own. I didn't think I could do a full skull in 2 weeks, so...... Leaving the oyster in a half shell. Gently rinse the oyster under cool flowing water and then, set each oyster ready to smoke on a clean pan. Gently rinse the oyster under cool flowing water and then, set each oyster ready to smoke on a clean pan.
To make the above dolphin mask, just print out the following dolphin mask template and then cut out and follow instructions on that page. Making Spool Dolphins Here is your chance to make a cute little dolphin. how to make someone interested in your blog What others are saying "You don't have to be super crafty to make these DIY toddler costumes. Easy and so cute!" "A TMNT shell requires just spray-painting a roasting pan.
I would make a casting from plaster of the inside of the mask shell and do the fiberglass on top of that. That way it will be the same size as the original shell and the cages will fit better. That way it will be the same size as the original shell and the cages will fit better.
Roll the metal strip over the cup to make it consistent with the shell. As you go check the shell against the strip. As you go check the shell against the strip. At this point you can bevel the edges and glue the shell to the backing or you can add sides to the backing.
What others are saying "You don't have to be super crafty to make these DIY toddler costumes. Easy and so cute!" "A TMNT shell requires just spray-painting a roasting pan.


On the 2nd of June 2018, the MDSA Annual General Meeting was successfully held at Wisma MDA. Representatives from dental schools all across Malaysia, Executive members of MDSA 2017/18 as well as candidates for Executive Committee of MDSA 2018/19 attended this event.
The event was officiated by our dear MDSA Patron, Prof. Dr. Mohamed Ibrahim Abu Hassan followed by a speech from MDA President, Dr. Ng Woan Ting. Reports were presented by each executive committee, followed by a review of the current constitutions by the President of MDSA 2017/18, Ms. Eunice Looi Shyn Yin.
The highlights of the event included the dissolution of the previous executive committee and election of the new executive committee. We congratulate and wish the new committee all the best in your new tenure!


text:
e-flux book co-op at the New York Art Book Fair
W.A.G.E
"book co-op" at the New York Art Book Fair, PS1, New York, 2011. Photo courtesy of e-flux.
Costly and often monopolistic approaches to the distribution of art books has resulted in a situation where it has become common for not only the author, but also the publisher to receive little to no revenue for a book's sales. As a possible alternative, e-flux is pleased to present the book co-op: a mobile bookstore of over 600 titles on contemporary art, theory, and criticism from over 100 international art centers, artist-run spaces, and independent publishers. Housed in a refurbished aluminum Airstream trailer, this temporary model for more equitable distribution in art publishing will display and sell books on behalf of the co-operative's member institutions.
The book co-op trailer will live in the PS1 courtyard throughout the duration of the 2011 New York Art Book Fair, after which it will embark on an international tour of contemporary art venues.
Join us at PS1 on Saturday October 1, 12 noon for the New York launch of Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art, the fourth in the e-flux journal reader series published by Sternberg Press. To mark this occasion, W.A.G.E. (Working Artists and the Greater Economy) will present a live reading followed by a self reflexive Q+A; and Liam GIllick will read from Construction of One: A Manuscript (2011), an unpublished text on the progressive working practices deployed by Volvo factories in the early 1970s.
book co-op:
98weeks : Architectural Association / Bedford Press : Arsenal Gallery : Artspace : AS220 : BAK, basis voor actuele kunst : Ballroom Marfa : BAS : Bergen Kunsthall : Berliner Künstlerprogramm / DAAD : Bielefelder Kunstverein : Brumaria : CA2M Centro de Arte Dos de Mayo : CASCO—Office for Art, Design and Theory : Casino Luxembourg—Forum d'art contemporain, Luxembourg : CDA-Projects : Contemporary Image Collective (CIC) : Cultural Center of Belgrade : DeLVe, Institute for Duration, Location and Variables : Dublin City Gallery The Hugh Lane : EACC—Espai d'Art contempoarani de Castello : Eastside Projects : Fillip / Motto : Fondazione March : Fondazione Nicola Trussardi : Foreman Art Gallery of Bishop's University : Galerija Miroslav Kraljevic : Gallery Nova / WHW : Grazer Kunstverein : IASPIS : ICA Sofia : Ikon Gallery : Independent Curators International (ICI) : Index, The Swedish Contemporary Art Foundation : Kadist / Kadist Paris : Kim? : Kölnischer Kunstverein : Kumu Art Museum : Kunsthalle Basel : Kunsthalle Bern : Kunsthaus Bregenz : Kunsthaus Graz : Kunstmuseum Liechtenstein : Kunstnernes Hus : Kunstverein Hamburg : LABoral Centre for Art and Creative Industries : Les Laboratoires d'Aubervilliers : M HKA : MACBA : MAMbo-Museo d'Arte Moderna di Bologna : Master in Visual Arts, Faculdade Santa Marcelina : Maumaus, Escola de Artes Visuais : Milton Keynes Gallery : Moderna Galerija Ljubljana : MUMA, Monash University Museum of Art : Morris and Helen Belkin Art Gallery, University of British Columbia : Museum of Contemporary Art Serralves : NKV, Nassauischer Kunstverein : MNAC, National Museum of Contemporary Art Bucharest : NBK, Neuer Berliner Kunstverein : Nottingham Contemporary : OMMU : Pavilion : Pavilion Unicredit : Pori Art Museum : Portikus / Städelschule : Postgraduate Program in Curating, Zürich University of the Arts / Whitespace : Press to exit project space : Project Arts Centre : Publication Studio : Rakett : READ Books, Charles H. Scott Gallery, Emily Carr University of Art and Design : REDCAT : Rijksakademie van beeldende kunsten : SALT : Salzburger Kunstverein : Sarai-CSDS : Serpentine Gallery : Shedhalle : split/fountain : Sternberg Press : Stroom den Haag : The Books : The New Gallery : The Power Plant : The Renaissance Society : Traffic : Van Abbemuseum : Vitamin Creative Space : Walker Arts Center : White Flag Projects : Wysing Arts Center : Zachęta National Gallery of Art and others.
For further information please write to Laura (at) e-flux. com.
e-flux
41 Essex Street
www.e-flux.com
"E-flux Talks About the book co-op at the New York Art Book Fair", Rhizome • Orit Gat
E-flux's book co-op is a mobile home for publications from over two hundred art institutions across the world. It will be presented at the New York Art Book Fair, which opens today and runs through the weekend at MoMA PS1. I aksed e-flux for more information about the project: Costly and often monopolistic approaches to the distribution of art...
E-flux's book co-op is a mobile home for publications from over two hundred art institutions across the world. It will be presented at the New York Art Book Fair, which opens today and runs through the weekend at MoMA PS1. I aksed e-flux for more information about the project:
Costly and often monopolistic approaches to the distribution of art books has resulted in a situation where it has become common for not only the author, but also the publisher to receive little to no revenue for a book's sales. The book co-op was initiated as a way to bring together and give greater access to an array of contemporary art publications being produced by museums, foundations, residency programs, artist-run spaces, and universities all over the world. It was formed to offer these publishers the opportunity to make their titles public without having to follow the traditional routes provided by distributors, and to experiment with publishers to create a platform where the responsibilities of distribution and access are shared.
The members of the book co-op represent a good majority of the e-flux journal network, a group of over 200 varied contemporary art institutions who print and locally distribute the e-flux journal. When forming the project earlier this year we invited all journal network members to participate. New members of the book co-op have been added to the initial group since announcing the project's presence at the NYABF last week, which is great.
We first presented the book co-op at Art Basel this summer as part of the Kopfbau, a larger e-flux project which saw us occupy an old Art Basel office slated for demolition. We took a few of the offices, demolished a couple of walls to make a large rectangular room with wall to wall, almost floor to ceiling books on two sides. Each member of the co-op had a few shelves for their books. We made some chairs from the materials found in the building for visitors to use and browse books. So the room became a pop-up library or meeting place; sometimes it was busy with a book launch event, the next it was quiet with people taking a break from the fair while browsing a few titles. People were really curious about what was going on so we did a lot of talking about the project and they often stayed to browse for quite a while. It was great to see people pull books from the shelves and say look, this is the book by this artist I was telling you about, or the exhibition we saw in so and so, or wow, I've been looking for this for ages but haven't been able to find it anywhere; making connections that they otherwise wouldn't have.
How does the co-op work? It's really simple. Each member sends us a selection of around 5–8 titles and we sell them on their behalf at the price requested. We return sales less a tiny amount, which the book co-op retains for operational costs. So there's a lot of trust involved, especially so when we first began developing the project.
The co-op is a perpetually roving project, but it may eventually find its way back to New York after it's been on a world tour. After the fair it's going to stay in New York until the beginning of next year, when it will begin the tour, starting on the East Coast of the US. We'll keep you posted on the schedule!
"Ten Things Not to Miss at this Weekend's NY Art Book Fair 2011", The L Magazine • Ian Erickson-Kery
MoMA PS1 is looking especially sharp this weekend as the hungry masses—the kind voracious for aesthetically refined and cutting-edge printed material—descend on the museum to find exactly what they're looking for and much, much more. The New York Art Book Fair (through Sunday) consists of over 200 stands representing international art book...
MoMA PS1 is looking especially sharp this weekend as the hungry masses—the kind voracious for aesthetically refined and cutting-edge printed material—descend on the museum to find exactly what they're looking for and much, much more. The New York Art Book Fair (through Sunday) consists of over 200 stands representing international art book publishers, periodicals, zines, and the like. All of this in addition to myriad speakers, book signings, and events makes for a satiating—and splendidly overwhelming—weekend in Long Island City. Visit and browse away, by all means, but here are ten things to keep an eye out for…
Stationed inside a refurbished aluminum airstream trailer in the museum courtyard is the e-flux book coop, which contains over 600 book titles from a cooperative of over 100 art institutions around the world. The tiny space contains a wealth of titles you're unlikely to found elsewhere, and proceeds go directly the institutions and authors.
Tauba Auerbach, who showed a mesmerizing series of "fold paintings" at the 2010 Whitney Biennial, is the keynote speaker at this year's NY Art Book Fair conference. She'll be speaking about her forays into art bookmaking on Saturday at 2pm. Some of her books can be found at Paula Cooper Gallery's stand.
Printed Matter, the Chelsea art book mecca and organizer of the fair, is showing an exhibition of artists' photography books. The exhibition takes a chronological look at photography as a strategy in the art book. You'll find editions from Sol LeWitt and Ed Ruscha, amongst others.
With the Piracy Project Book Room, London-based publishers AND fill a room with books from around the world that are pirated—either through unlicensed reprinting or full-on interference with content—in explorations of creativity and originality that "sit not in the borrowed material itself, but in the way it is handled."
The Werkplaatz Typografie, a visual arts masters program in the Netherlands, presents for the first time the Mary Shelley Facsimile Library in which students show books that they've bootlegged in a manner consistent with their research and practice. WT is located in a cozy corner room filled with delightfully kitschy furniture and decoration borrowed from a Bed-Stuy apartment. To add to this pleasant domesticity, refreshments are served.
Brooklyn-based artist David Horvitz will be hosting a sneaky little talk called "Confessions of a Book Thief" Sunday at 6pm. BYOB and your thoughts on making away with free books (all irony intended).
Canadian photographer Ryan Foerster is hosting a Zine Swap all weekend in the museum courtyard. There's sure to be fertile selection of raw artist material. Bring a zine to exchange.
In the third floor hallway there are a ton of previous editions of Showpaper—the bi-weekly art poster that lists all-ages shows in New York—available for the taking. They'll also be throwing an hour-long concert featuring five bands at 3pm on Sunday.
Because a $200 annual subscription to The Thing is out of reach for most, it's worth checking out their stand at the fair. The quarterly periodical mails out functional objects conceived of by creatives. The last issue was by James Franco, and one by Dave Eggers is slated for later this year.
Roe Etheridge will be signing the monograph from his recent show Le Luxe while Joel Sternfeld signs copies of his new book First Pictures, tonight at 6pm. This is an impressive pairing of photographers, and they'll be sitting at the same table. Of course, this is only small sampling of the panoply of stands and events at this weekend's NY Art Book Fair, a sensory overload for those keen on their visual sense.
"Highlights From The NY Art Book Fair", Art Fag City • Whitney Kimball
It's decided: artists' books are the way to go. Opening night, the New York Art Book Fair preview at PS1 was abuzz with bespectacled young and old art professionals and literary types, wandering through sprawling tables and crowded halls. With the mass of cheap zines requited to an outdoor tent in front of the museum, I was bankrupt before I even...
It's decided: artists' books are the way to go. Opening night, the New York Art Book Fair preview at PS1 was abuzz with bespectacled young and old art professionals and literary types, wandering through sprawling tables and crowded halls. With the mass of cheap zines requited to an outdoor tent in front of the museum, I was bankrupt before I even entered the building. I'll be returning to see more of the fair — it's impossible to see all of it in only a couple of hours –but here are few last minute highlights for those attending today.
E-flux has parked a winnebago in front of PS1/MoMA's steps. Inside, their book co-op hosts a large collection of art books from independent sellers, artist-run spaces, and international art sellers. In the tent directly behind the e-flux think tank, are very wide range of zines . These include, from adjective/noun, a literary zine made by a senior at Brown, Cinders, a gallery in Brooklyn that shows, among other things, handmade books and our favorite well-established gay magazine, Butt. A sentiment often voiced inside this space ran something to the effect of, "Make books! You can actually sell these things!"
Semina — first floor conference room
Wallace Berman's collective publication "Semina", displayed on walls and in glass cases, marks what is perhaps the beginning of zine culture. A collection of images and words submitted by a tight-knit group of artists defined the publication, each arranged so as the viewer could rearrange as he/she pleased. The magazine ran from 1955-1964, and while hard to read beneath the display, it isa fitting prelude to the zine boom outside. There's a great piece on Semina Culture here.
The Piracy Project
Sharing the conference room with "Semina" are Andrea Francke and Eva Weinmayrr of "The Piracy Project." The project put out an open call for artists to send pirated books, and the altered publications were placed on the shelves of the library. This is related to book pirating in Peru, where chapters and endings may be altered to texts without the readers' knowledge. For example, artist Simon Morris randomly rearranged the words in one of Freud's texts in a piece titled "Re-writing Freud" and reprinted it with the original cover (a sample sentence reads "distortion of Now of own the Love confusion.") The project became an investigation into copyright issues, which are obviously, very relevant to zine culture and photography.
Andrew Roth, Inc. – third floor, Room M
The punk room on the third floor of PS1 is a wall of fanzines, mapping out the progression of D.I.Y. culture over the course of ten years. Toby Mott of Andrew Roth, Inc. calls them "artifacts" and displays them as such. Each rest in plastic sleeves that hang over the words "WE ARE THE WRITING ON THE WALL." The corresponding book is concise and elegant; it is simply a chronological collection of fanzine cover images that map a steady aesthetic transformation and cultural change. It's hard not to wonder if the zine is inherently short-lived, given this post-mortem display of punk fanzine culture and Wallace Berman's now defunct "Semina" highlighted earlier in this post.
I'm going back to see Little Big Man again, just beyond the punk room, in Room N, on the third floor. They publish photography books which use sequential images to tell a narrative particular to a book format. Surf Riot is a lush, large series of photos in which the artist used only one roll of film to document a riot. The lighting and composition of each photo amounts to a cinematic experience. Sensitivity to such viewing, which can only happen through publishing, was a particularly compelling element throughout the fair.
Today I am excited to see The Martha Wilson Source Book on the third floor at the Independent Curators Int'l (ICI) table, followed by her panel talk scheduled for Sunday at 1 P.M. in the Conference Room. The pioneering feminist artist will be discussing her performances, video, and photo-text compositions, and the book documents decades of her art-related research.
"Going Through the Stacks at the 2011 New York Art Book Fair", Hyperallergic • Brendan S. Carroll
Now in its sixth year, the New York Art Book Fair , which takes place at MoMA's hipper sister in Queens, PS1, from September 30 to October 2, features more than 200 exhibitors from Ireland to South Korea. Presented by Printed Matter, the fair is the world's premier event for artists' books, contemporary art catalogues and monographs, art...
Now in its sixth year, the New York Art Book Fair, which takes place at MoMA's hipper sister in Queens, PS1, from September 30 to October 2, features more than 200 exhibitors from Ireland to South Korea. Presented by Printed Matter, the fair is the world's premier event for artists' books, contemporary art catalogues and monographs, art periodicals and artist 'zines. Exhibitors include international presses, booksellers, antiquarian dealers, artists and independent publishers from around the world. As a person susceptible to panic attacks, it is sensory overload city.How did I make sense of this mass convergence of printed matter?
The simple answer is I didn't. There is just too much stuff crammed into too little space. Yesterday, as I waded through the dense maze of booksellers, I thought of a crowded subway platform in the dead of summer. The air is hot, muggy and gross. Feet get trampled. Asses get pinched. And the crowd shuffles back-and-forth like the zombies from George A. Romero's classic film Night of the Living Dead. I saw just as many sodden armpits as books. Frankly, the endurance and wherewithal of the vendors surprise me. If I had to be sequestered in a cramped windowless room for three-days, I'd lose my mind.
Despite this minor unpleasantness, I enjoyed the fair. It offers lots of eye candy, and I have a sweet tooth. Many exhibitors transform a section of wall or scrap of floor space into engaging temporary exhibitions, which feature paintings, drawings, photographs and neon signage. Below are some of my favorites.
The Schoolyard is a gigantic pop up tent crammed with international artists and zinesters. Butt Magazine has a table in the tent. If you like pictures of naked male construction workers, day laborers, firemen or sanitation workers, this is the place for you. Scott Hug's K48 is in the tent as well. K48 is publication-as-synthesis, embracing music, fashion, art and design. e-flux's Book Coop, which is parked in the museum's courtyard, is a mobile home for publications from over two hundred institutions across the world. If you can't find it, look for the New Jersey license plate. Established in January 1999 in New York, e-flux is an international network which reaches more than 50,000 visual art professionals on a daily basis through its website, e-mail list and special projects.
We Are The Writing On The Wall is located on the third floor as part of the book fair's exhibition program. It is a special exhibition of a hundred vintage British Punk fanzines. Expect to find images of Stiff Little Fingers, The Undertones, UK Subs, Wire and The Exploited and more.
Francis Van Maele has run REDFOXPRESS in the west of Ireland since 2000. In his silkscreen studio he prints limited hand printed editions. He makes his own artist books and publishes a very successful collection of visual poetry and flux named "C'est mon dada." He has a lovely arrangement of Polaroid photographs pinned to the wall behind his stand.
John McWhinnie @ Glenn Horowitz Bookseller is an art gallery and rare bookshop. The gallery exhibits work by a variety of contemporary masters, such as David Levinthal, Brigid Berlin, Peter Dayton, and Mary Ellen Mark. The bookshop emphasizes materials related to 20th century avant-garde movements, from Bauhaus to Punk.
Founded in 2010 by artist Paul Chan, Badlands Unlimited publishes and distributes eBooks, paper books and artworks in digital and print forms. For this fair, Badlands premiered Poemsby Yvonne Rainer, a collection of never-before-published poetry by one of America's greatest living artists.
EAI (Electronic Arts Intermix) presents 40 Artists/40 Works/40 years, a screening in the Basement Vault. Founded in 1971, Electronic Arts Iintermix (EAI) is the leaning nonprofit resource for video art. Expect to find rare concert footage of D.C.'s Minor Threat.
Motto started in 2007 as a distribution company for Switzerland, specializing mostly in magazines and fanzines. mono.kultur concept is as beautiful as it is simple: one issue contains one interviewer with one artist, no more no less.
Bongout is Berlin-based independent artist-run space and art publishing company. Artist duo Anna Hellsgard and Christian Gfeller operation a design studio, a retail store, and a silkscreen atelier. One of my favorite books on sale featured hand-painted movie posters from Ghana.
Since 2007, Lubok Verlag has published orginal graphic books and linocuts by international contemporary artist. Printed in large editions from the original plate on old letterpress machines, Lubok books try to make graphic art available at affordable prices. If you have time, I implore you to revisit James Turrell's site-specific installation "Meeting." The work is composed of a square room with a rectangular opening cut directly into the ceiling. As I sat in the room, I watched the clouds overhead unfurl, dissolve, break apart and tumble across the afternoon sky. Like a Quaker meeting room, the chaos of the outside world recedes into the distance as the power of G-d is revealed. And then a baby enters the room to destroy the silence.
Liam Gillick is an artist based in New York. His work exposes the dysfunctional aspects of a modernist legacy in terms of abstraction and architecture when framed within a globalized, neo-liberal consensus, and extends into structural rethinking of the exhibition as a form. He has produced a number of short films since the late 2000s which address the construction of the creative persona in light of the enduring mutability of the contemporary artist as a cultural figure. Over the last twenty five years Gillick has also been a prolific writer and critic of contemporary art, contributing to Artforum, October, Frieze, and e-flux Journal. His book Industry and Intelligence: Contemporary Art Since 1820 was published by Columbia University Press in March 2016.
RSVP for e-flux book co-op at the New York Art Book Fair


If you want to learn to surf, the Wildwood beaches offer some of the safest and easiest waters in which to try. Ocean outfitters, located in Wildwood Crest, NJ is a surf shop specializing in teaching folks of all ages to surf. They offer a surf camp during the summer season for the adventurous vacationer. Their store, at 6101 New Jersey Avenue, has beach accessories, new and used surf boards, clothing for men, women and much more!


text:
Hong-zhi: Year 6, Month 3, Day 20
The Censor-in-Chief Min Gui, supreme commander of Guang-dong/Guang-xi, memorialized:
"In the coastal areas of Guang-dong, many people are privately dealing with [those who come on the] fan ships. The ships come in an unbroken stream and, without waiting for the examination of their tally-slips, [those on] the fan ships start selling their merchandise. The government forces responsible for guarding against the Japanese pirates have made reports about the growing power and disorderliness of the traders. Also, the authorities have had to make necessary arrangements, and the costs thereby incurred have been very great. This trade should be prohibited. Further, the yi are wily and guileful and I am afraid that unexpected mishaps may occur. We should make publicly known at the Huai-yuan Postal Relay Station the previously-stipulated regulations in which the frequencies of the tribute missions from the various fan are set down, and require them to come and offer tribute in accordance with these frequencies. Whenever a fan ship arrives, the government forces responsible for guarding against Japanese pirates should send the persons aboard in custody to the provincial administration commission for examination of their tally-slip. If they have not contravened the tribute frequency, they should be transferred to the eunuch director superintending the maritime trade supervisorate and the regional inspector, who will then memorialize and send the tribute mission on. If they have violated the tribute frequency, they are to be arrested and sent for questioning."
The memorial was sent to the Ministry of Rites which stated:
"According to Gui's memorial, the problem lies with the great number of fan ships and the hardship brought to the offices. According to this Ministry, since the first year of the Hong-zhi reign (1488/89) the only fan ships which have brought tribute missions through Guang-dong have been one from Champa and one from Siam. Because the prohibition against the private ships (私船) has been relaxed, they have proliferated, while because the prohibition against fan ships has been strictly enforced, they have not been coming. Now there is a wish to publicly promulgate the prohibition. This will not only obstruct the desire to move towards culture, but will also assist the private ships. In future, when fan ships reach Guang-dong, they should first be examined. If they are not coming in violation of regulations, those aboard should be entertained with the appropriate rites in the hostel, and an urgent memorial should be sent. If they are violating the regulations, they should be stopped and sent back. If those who have improper dealings with such ships are punished for their crimes, and the comings and goings are regulated, the various fan will be encouraged and they will come, while if the private ships are punished, they will dare not come. Does not the way of treating those from the distance kindly, while benefitting the state, lie in this!"
This was approved.
Xiao-zong: juan 73.3a-b
Geoff Wade, translator, Southeast Asia in the Ming Shi-lu: an open access resource, Singapore: Asia Research Institute and the Singapore E-Press, National University of Singapore, http://epress.nus.edu.sg/msl/reign/hong-zhi/year-6-month-3-day-20, accessed January 17, 2021
Roxanna Brown, ... replied on Wed, 2007-01-10 02:30 Permalink
What could be the difference between 'fan' ships and private ships? When did the 'relaxation' on shipping begin? Roxanna57@yahoo.com


Pioneer DJ expands its family of Serato DJ Software controllers with the DDJ-SZ, its flagship model that strongly emulates the look and feel of Pioneer's world-renowned CDJ digital players. The DDJ-SZ is designed for the serious "controller" DJs who are inspired by the performance specifications of Pioneer's professional DJ products but also want the convenience of an all-in-one system. The new controller is 35 percent bigger than the widely popular DDJ-SX, sporting additional functionalities and features including extra large JOG wheels (the same size available on CDJ players), large performance pads with multi-color illumination, DJM style mixer, dual USB ports, and a MAGVEL cross fader.
Directly below each JOG wheel are four effects buttons – HOT CUE, ROLL, SLICER, and SAMPLER. Under the effects buttons are eight extra large "performance pads" that DJs can quickly access to insert different modified effects to music playing. In Sampler mode, the output volume of the sampler effects also varies depending on the strength of user's tap of the pad. An update from the current DDJ-S controllers, the performance pads on the DDJ-SZ illuminate in different colors to quickly communicate the effect mode it is in.
The mixing area of the DDJ-SZ also closely mimics Pioneer's DJM series of professional mixers, utilizing a generous number of controls and effects with features including Sound Color FX and new Oscillator functions to deliver more creative music arrangements. The mixer can also be used as a standalone 4-channel mixer for outboard players and turntables.
•	Serato DJ Software – Bundled with the DDJ-SZ for an easy out-of-the-box experience.
•	Slip Mode – While activated, Slip Mode silently continues song playback during a performance loop, scratch or hot cue and resumes audible playback when the loop, scratch, or hot cue operation is ended, creating smoother and more seamless transitions.
•	Needle Search – Users can immediately jump to a specific part of a music track with a simple touch of the Needle Search pad.
•	High Quality Audio – A low-jitter clock and high-performance digital-to-analog converter (DAC) are used for accurate audio playback. In addition to a 24-bit digital signal processor to minimize digital noise, its balanced hybrid operational amplifier and balance output circuit also reduce analog circuit noise.
•	P-LOCK Fader Cap – Prevents the fader knob from slipping off during extreme use.
•	Auto Standby – Automatically switches to standby mode when no activity or input is detected for a period of time.


text:
FHI Aufsätze
FHI Rezensionen
FHI Debatte
Zeitschrift Rezensionen
Rezensiert von: Frank L. Schäfer
Gerhard Dilcher, Die Germanisten und die Historische Rechtsschule: Bürgerliche Wissenschaft zwischen Romantik, Realismus und Rationalisierung
1Studien zur europäischen Rechtsgeschichte, vol. 301, Vittorio Klostermann, Frankfurt am Main 2017, XVI, 528 pp., ISBN 978-3-465-04287-7, 89.00 €
2When a person admires other people, he or she gradually takes over their characteristics. Undoubtedly and without any ironic undertone, Gerhard Dilcher, the great old master of the metaphysical Geistesgeschichte,1 slips into the role of his three role models. This triumvirate is composed of no less eminent scholars than Otto von Gierke, Max Weber and Franz Wieacker. Dilcher's latest anthology is the final result of this intellectual fusion: The Germanists and the Historical School of Law. The focus of the volume is clearly on the first term. The Germanists were a group of academics and practitioners who were peculiarly attached to local German legal sources. Their subject Germanistik bears the name German studies in literal translation, a term which is today more common for studies on German language and literature. In the 18th and 19th centuries, the Germanist scholars also researched the applicable law, and since the enactment of the German Civil Code in 1900, they have largely restricted themselves to the history of law. For this reason, German Legal History and German (legal) studies today are to be understood as synonyms as far as possible.
3In comparison, the also mentioned Historical School of Law is somewhat less important. The integration of this school into the title of the book probably goes back to the fact that Dilcher joined his great role model Gierke in extending the Historical School of Law far beyond the middle of the 19th century. It is obvious that Dilcher considers himself as the heir of this famous school. However, the overwhelming majority of the more recent research limits the Historical School of Law to a much shorter period from 1800 (or even 1815) to the revolution of 1848. As an example, I will mention here Hans-Peter Haferkamp's monograph Die Historische Rechtsschule (2018). It would be interesting to read Dilcher's view of Haferkamp's thesis that the Historical School of Law was not a general movement of legal scholarship (i.e. both Roman and German legal studies), but only the mainstream of pandectology.
4The subtitle Bürgerliche Wissenschaft zwischen Romantik, Realismus und Rationalisierung also deserves a closer look: civil society, science, romanticism, realism and rationalization. Dilcher thus clearly identifies himself as a follower of the Geistesgeschichte and as a representative of enlightened liberalism. He himself speaks of a "question of culture and history of science" (page 8) below the level of philosophy of law. Therefore, for Dilcher civil society in no way means a focus on civil law, i.e. on the applicable civil code. Rather, he wants to point to the bourgeoisie as the liberal carrier of change in the 19th century. However, it is somewhat anachronistic to see that Dilcher also applies this template to his studies of medieval Italian cities in other publications.
5The book presents a total of 18 essays, two of which are first-time contributions. The contributions cover four thematic areas: firstly, the history of German legal studies in Vormärz (pre-March); secondly, social and political change in the 19th century and its connection to German legal studies; thirdly, Gierke's concept of a cooperative; and fourthly, the history of German legal studies in the 20th century. Unfortunately, the overview essay Die juristische Germanistik des 19. Jahrhunderts und die Fachtradition der deutschen Rechtsgeschichte (19th century German legal studies and the specialist tradition of German legal history) published together with Bernd-Rüdiger Kern in 1984 is missing.2 The first-time contributions deal with the following topics: first, Dilcher's sum of his concept of German legal studies (Bürgerliche Wissenschaft zwischen Romantik, Realismus und Rationalisierung), second, a lecture on Gierke at the symposium for Joachim Rückert (Zum Ort der Freiheit in Gierkes Rechtstheorie). The first original contribution is available in English in a slightly modified form in the journal Rechtsgeschichte. Thanks to Dilcher's broad understanding of the Historical School of Law, the period outlined in the volume extends far beyond the period from 1815 to 1848. It begins in the late 18th century and extends into the second half of the 20th century, almost to the present.
6Next, let us look in detail at the two first-time contributions of the book. The introductory essay Bürgerliche Wissenschaft zwischen Romantik, Realismus und Rationalisierung (pages 1-88) bears the same title as the subtitle of the book. Dilcher wrote it as a kind of "self-assurance" of his past views. We can therefore only expect little new, rather the continuation, deepening and nuancing of well-known theses. Dilcher resolutely defends his subject against attempts to place German legal studies in the political right corner because of its involvement in the National Socialist dictatorship. In fact, our cosmos is much broader than the spectre of nationalism, even though many Germanists in the Third Reich were indeed compromised by their adherence to antisemitism and racism. Dilcher wants to tell us something completely different, namely a success story of the liberal middle class.
7Dilcher unfortunately falls back into the old pattern of focusing the early Historical School of Law entirely on Savigny: "The intellectual foundation act of the Historical School of Law goes back to Savigny, and only to Savigny" (page 10). From page 32 onwards the essay then turns to the time after the Paulskirche, which – according to today's quite predominant opinion among legal historians – no longer counts at all to the Historical School of Law. Dilcher's essay thus includes not only Heinrich Brunner (the most respected legal historian around 1900), but also Otto von Gierke and even Paul Laband (formerly a legal historian, but mainly active in the field of positivistic constitutional law) and Max Weber (sociology of law and national economics). For many readers, this must seem at least unusual at first glance.
8Dilcher's broad concept of Geistesgeschichte also leads to certain tensions. His attribution of Gierke to Hegel's philosophy of history is exemplary. How does this philosophy relate to other philosophers mentioned in the essay, to Kant, Fichte, Schelling and Dilthey? All great names, of course. A Geistesgeschichte must not, however, be content with big names as catchwords, especially not if they represent completely different philosophies. Otherwise the Geistesgeschichte will fall on the wrong path of arbitrariness. If Dilcher then claims that his interpretation of the arrangement of Gierke's main work deviates from my own published in my monograph Juristische Germanistik: Eine Geschichte der Wissenschaft vom einheimischen Privatrecht (2008), the dissent is probably due to a misunderstanding. I completely agree with Dilcher and have already written down (page 496 of the mentioned book) that Gierke's first volume is the historical prelude and the following volumes deepen individual aspects of the so-called dogma history.
9Starting on page 66, the further history of German legal studies in the 20th century follows. In many passages Dilcher and the reviewer share common views of the history of German legal studies. This is hardly surprising, since Dilcher and the reviewer both share the same academic socialization at the Frankfurt Historical School and obviously similar views of the value of freedom. Dilcher finally openly addresses the unfortunate entanglement of the Gierke family in the fate of Germany between nationalism and antisemitism. Dilcher elaborates this topic in detail in a further essay.3 It should be remembered at this point that the reviewer's predecessor, Hans Thieme, presented a fundamental study on this sad topic decades ago.4 For many years, mostly all legal historians ignored Thieme's contribution. It is Dilcher's merit to present the facts. Dilcher also acknowledges Eugen Rosenstock-Huessy's great importance for German legal studies in the period from the First World War onwards. Dilcher portrays this brilliant scholar with his Jewish background as a representative of the liberal and cosmopolitan orientation of German legal studies. The reviewer would corroborate this without hesitation. But the denial of any continuity between German legal studies before 1933 and after 1945 with the dark years of National Socialism in between leads too far. During the Weimar period, many Germanists were on the side of monarchist reaction, antisemitism and nationalism. And after 1945, numerous Germanists who were involved in that way remained in office, trying to conceal all traces of their shameful actions. History is too multi-layered and too complex to be forced into a binary grid. At the same time, Dilcher's attempt to draw clear historical lines remains very praiseworthy. If you want to tell a story masterfully, you have to simplify. That lies in the essence of great narratives.
10Next, a few comments on the first-time contribution Zum Ort der Freiheit in Gierkes Rechtstheorie (On the place of freedom in Gierke's legal theory, pages 377-391), which Dilcher first presented at the birthday symposium for Joachim Rückert in Frankfurt am Main (pages 377-391). Here as well it can be seen that Dilcher and the reviewer rate Gierke's conception of freedom similarly. Dilcher rejects the thesis that Gierke, through his cooperative theory, can be attributed to the camp of contemporary socialists or, theoretically speaking, to collectivism. On the contrary, Dilcher rightly emphasizes the many traces of liberalism in the form of freedom rights in Gierke's work. Applying this to cooperative law, Dilcher correctly argues that Gierke had sought to balance community and freedom. In his oral presentation at the Symposium for Rückert, Dilcher summarized this with the beautiful concept of an "equilibrium" between community and freedom. Gierke's concept is not a forced community, but is built on the voluntary participation of its members. Whether one should interpret Gierke's cooperative law as the birth of social liberalism, however, must be decided by the reader. At any rate, that would not be a historical interpretation. A critical point is that Dilcher even praises the late Gierke of 1919 as a liberal. As Dilcher analyzed in another essay of the anthology, Gierke had already turned to radical nationalist ideas by that point that would ultimately fall back on his own family.
11Dilcher does not base his contributions only on a very broad temporal understanding of the Historical School of Law. He is equally generous with the Germanists as a group, since he declares the sociologist Max Weber and the Romanist and great historian of private law Franz Wieacker to be, so to speak, honorary Germanists. The two essays Historische Sozialwissenschaft als Mittel zur Bewältigungder Moderne – Max Weber und Otto von Gierke im Vergleich (Historical social science as means to master modernity – Max Weber and Otto von Gierke in comparison, pages 415-442) and Franz Wieacker als "Germanist" (Franz Wieacker as a "Germanist", pages 479-504) will therefore be discussed here.
12Weber's classification as a Germanist is more a nice game of thoughts than a real thesis, which could open doors previously closed to legal history. It is a truism that both Weber and Gierke each tell a great social story. On a narratological level, striking similarities can indeed be observed. This may be beneficial for narrative theory, but very limited for legal history. Gierke was a passionate jurist, and his works on cooperative law are normatively structured accordingly. Weber's interest and perspective, however, are quite different. He applies sociological methods and understands law only as a subsystem of sociology. It therefore remains the case that Weber, despite his dubious teaching license for commercial law, at least does not belong to the mainstream of German legal studies.
13The anecdote that a Romanist had praised Franz Wieacker as the greatest Germanist cannot really be taken seriously. Wieacker's comparison with German legal studies is quite groundless. For Dilcher bases his thesis on Wieacker's topoi such as "rationalization" and "scientification", which are not very typical for German legal studies. Dilcher is more likely to hit the right point with Wieacker's preference for "life and reality" and his narrative of a decaying legal culture. All this, however, does not make Wieacker a Germanist, but is rather owed to the zeitgeist of National Socialism and other movements that are critical of private autonomy. It should also be borne in mind that Wieacker neglects the Germanists of the 18th and 19th centuries as private law scholars. He writes a story about Roman law and Roman legal scholarship. No Germanist scholar would ever ignore his own colleagues in such a way.
14If you have to recommend the book, Dilcher makes it quite easy. It is very gratifying to see that the history of German legal studies and its narratives are now largely consolidated. Using German legal studies as an example, he delivers a great story of academic liberalism. You don't have to agree with all the details, but that is not the point with a story whose literary quality reaches far beyond the status of simple specialist literature. Dilcher does not write about master narratives; he himself delivers a master narrative for which the science of legal history will be grateful to him. The book is a cultural asset for legal history and beyond. The reviewer therefore recommends this wonderful work to all lawyers for reading. At a time when globalism and reason are crushed between nationalism and irrationality, liberal ideas are needed.
1 A very special German orientation of history, which could be translated as "intellectual history".
2 In: Zeitschrift der Savigny-Stiftung für Rechtsgeschichte, Germanistische Abteilung, vol. 101 (1984), pp. 4-29.
3 Otto von Gierkes soziales Genossenschaftsdenken und die NS-Rechtsideologie – eine Kontinuität? (Otto von Gierke's social cooperative thinking and the NS legal ideology – a continuity?), pp. 443-478.
4 Was bedeutet uns Otto von Gierke? (What does Otto von Gierke mean to us?), in De iustitia et iure, gift for Ulrich von Lübtow, 1980, pages 407-424.
Rezension vom 18. September 2019
© 2019 fhi
Erstveröffentlichung
DOI: https://doi.org/10.26032/fhi-2019-007
Zitiervorschlag Rezensiert von: Frank L. Schäfer, Gerhard Dilcher, Die Germanisten und die Historische Rechtsschule: Bürgerliche Wissenschaft zwischen Romantik, Realismus und Rationalisierung (18. September 2019), in forum historiae iuris, https://forhistiur.net/2019-09-schafer/


PREMISE:          Sumo wrestling, like most sports, is an acquired taste.
even more so) than its American so-called "professional"
decent gameplay.  Hey, did I just see Akebono in there?
I remember this one it was quite good for a few plays and then I got tired of slapping fat men.
I personally dont find larger men attractive... its a fun game though. Nice, big sprites with decent gameplay.


Halifax had the highest rate of consumption per capita among five urban areas.
A customer carries his purchase after leaving the Nova Scotia Liquor Corporation cannabis store in Halifax on Oct. 17, 2018.
HALIFAX — A new study from Statistics Canada draws data from an unexpected source to suggest Halifax has the highest rate of cannabis consumption per capita among five urban centres across the country.
The national statistics agency launched its study in March, using a relatively new technology called wastewater-based epidemiology.
Watch: Nova Scotia leads Canada in provincial pot consumption. Story continues below.
Researchers analyzed wastewater from 15 treatment plants across Halifax, Montreal, Toronto, Edmonton and Vancouver to produce statistics on cannabis use.
The results suggest that between March and August, Halifax had the highest rate of consumption per capita, at 1,310 micrograms per person per week, with Montreal coming in second at 976.
Toronto came in at 451 micrograms per person per week, Edmonton at 416, and Vancouver at 288. In total, the areas surveyed represent nearly 8.4 million Canadians.
StatCan noted there were often large disparities in the amount of cannabis detected month-to-month, and stressed that its results are considered "preliminary and experimental."
"Statistics Canada is still exploring the benefits and limits of using WBE to produce statistics on drug use," a recent report posted on StatCan's website reads.
The study was launched amid concerns that Canadians may be under-reporting their cannabis use due to stigma around the drug a reluctance to disclose purchases from "non-regulated suppliers."
The report said that when people consume cannabis, their bodies process it into metabolites that are later eliminated from the body and can show up in wastewater.
StatCan said sampling will continue through the spring of 2019.
เกมส์Should Canadians Really Be Worried About A Recession In 2019?


text:
Published: 0712 GMT April 08, 2017
Beyond US missile strikes on Syria
US cruise missile strikes on Syria's Sharyat Air Base in Homs Province took place while Donald Trump had earlier said he would issue an order for attacking the Arab nation following Tuesday's suspected chemical attack in Idlib Province.
The missile strikes were illegal and unjustified because the US carried them out before launching a probe into the chemical raid in the town of Khan Sheikhoun.
The propaganda launched by Western media following the gas attack in Khan Sheikhoun, but before an independent inquiry, paved the way for Washington's aggression on the Syrian air base.
Trump has used the Idlib chemical attack as a pretext to launch a military operation in the Middle East in contradiction to his presidential campaign slogan and his announced polices after he was sworn in as president – "isolationism" versus globalization and "America first" which also meant non-involvement in the Middle East.
For the first time, Damascus was accused of launching a chemical attack in 2013, but the United Nations announced that the raid was carried out by Takfiri terrorist groups, not by Damascus.
The use of chemical gas is condemned under any circumstances. It is a heinous act which is not at all approved or acknowledge by any sane person.
However, there are at least two problems with the US strikes: first, the attack is illegal and illegitimate because it violates the sovereignty of an independent country; second, the attack was not sanctioned by the UN nor does it have international approval.
It is an open fact now that the terrorist groups that are fighting the Syrian nation and government were created and supported by the United States. President Donald Trump confessed on record during his presidential campaign that the terrorist groups active in the Middle East were created by the US administration.
Therefore, in the first place, the US must stop supporting these notorious groups whose members brutally beheaded Western journalists and Arab citizens who did not subscribe to their cult.
Secondly, the US and its regional allies must stop meddling in Syria and allow the Syrian people to decide their fate. If the US and its allies stop their interference, there will be no grounds for the massacre of innocent human beings by savage groups who kill and behead on the order of others.
Despite the strikes, it seems that the US will not expand its military activities in Syria in a way which would result in an all-out regional war. Hence, regional countries are advised to exercise restraint in a bid to prevent any attempts aimed at fueling tensions.
Iran's foreign policy apparatus should also make efforts on the basis of national interests to reduce tensions.
Iran's reactions to the recent developments are very important because the adversaries of the Islamic Republic are seeking to drag Tehran into a regional war under the pretext of the latest tensions in Syria.
US, UK, France launch strikes on Syria
Zarif: US anti-Iran claim aims to whitewash war crimes in Mideast
US missile attacks on Syria smacks of jungle law: Iran Judiciary chief
US strikes Syria airbase, draws Iran, Russia condemnation


Scales of Justice-Frankfurt Version (https://flic.kr/p/df4vu5) by Michael Coghlan (https://www.flickr.com/photos/mikecogh/) used under CC BY SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0/).
Ethics in Law Enforcement by Steve McCartney, Justice Institute of British Columbia, Rick Parent, Simon Fraser University is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted.
This text was really quite comprehensive in terms of the subject matter, quite closely mirroring many of the areas covered in the course. In particular chapters 2-4 and 6-8 were used specifically throughout the course both for reference and for review of material, as well as for an introduction to some content. Students found the text effective for their purposes, and the text was used throughout the semester on a regular basis.
As an area for consideration in future versions, the only course material not covered in the text was related to Distributive, Restorative and Corrective Justice. The text does mention Rawls' Theory of Justice, and this could potentially be expanded as it is a natural segue into justice systems, and particularly Distributive Justice which underscores many of the ethical situations law enforcement students may have to understand or relate to as they progress through their program.
A glossary was included at the end of each chapter. This was beneficial, although an index at the end would also have been helpful.
One of the strengths of this theory-based book is the inclusion of source material with reference lists that allowed students to go into more depth in areas of specific interest. This reinforced the credibility of the material and the accuracy of the content provided. Diagrams and graphics were likewise accurate, if limited in use in this text.
I might recommend the addition of case studies, questions for reflection, and visuals to create interest, and to encourage critical thinking about the material and an opportunity for students to apply what they have learned in theory.
Some students struggled with opening links, and this could always be problematic for maintaining a text that uses online references. Most of the material however, is current and up to date, although as the date is now 2018, it might be advisable to look into a revised version of this 2015 text, to ensure it does not contain information that is dated or obsolete.
The prose is clear and easy to understand. It is an excellent introduction to the terminology and content of ethics in law enforcement. Student reviews indicated that the text makes topics covered in class clearer and that is does a good job of making different elements of ethics relevant to policing.
This text is written as standalone chapters, however, the voice is consistent throughout, which makes it easier for students to follow. There are some style guide issues that could be incorporated into the next round of revisions (ie: ensuring consistency in numbering or bullets, use of italics or bold lettering, use of hyperlinks), and for the sake of student navigation, it might be worth considering the use of a general index at the end, as well as a final reference list (instead of the Reference list being at the end of each chapter). These suggestions should not be read so much as critique of the text, as they are more from the perspective of an editorial eye, and do not greatly interfere with the usefulness or relevancy of the content itself.
In some cases the APA referencing was mixed in with numbered footnotes which also served as references (Chapter 3 was particularly noticeable) and this might be worth reviewing to ensure the text maintains its overall constant framework.
Absolutely. One of the primary incentives for adopting this text was the way it largely mirrored the flow and structure of the course it is intended to support. There was some variation, but that was mostly due to personal preference rather that issues with the organization of material itself. Each topic leads into the next with smooth transitions, building on the information and thus allowing an instructor to easily incorporate activities that reinforce each concept covered.
Again, to truly reinforce concepts, and to encourage students to apply learning, some case studies or reflective questions could be included as well.
This text was used in a number of different formats including web-based, PDF, some printed chapters, and as an e-book on numerous devices including both tablets and phones. No issues were reported by students or observed by faculty.
In terms of navigation, one suggestion might be to hyperlink terminology (ie glossary terms) back to the original introduction to the term. An index would achieve the same result.
•	Colon use should only be used at the end of a complete sentence, but many texts—including this one—include them after sentence fragments.
•	Parenthetical citations do not usually spell out the word 'and' but instead use an ampersand (&).
The text itself does not display any obvious bias.
There is a specific section (4.4) on Person, Gender, and Cultural Differences, and this section should possibly be expanded. Canada is most certainly a multi-cultured society and this text currently only dedicates a short section to this, thus only superficially addressing some key areas that are relevant to ethics in law enforcement.
I do recommend this text. It is a solid introduction to many of the ethical concepts that students in law enforcement-related programs should know. The Canadian content makes it even more relevant to students. There are a number of suggestions I'd like to make. These should by no means be taken as criticism, but only in the spirit of improvement. Some of these suggestions have been made throughout the review, but are summed up below for ease of reference.
•	Add visuals and sidebars to break up chunks of text and to draw the eye. Students respond well to visuals.
•	Include case studies and/or applied examples. These will help students apply the theory of the text and get them to think critically about what they are reading and learning, In addition, they will help break up the text as they can be in sidebars or other visually-appealing formats.
•	Add a complete Reference List to the end of the text.


The advice and guidance on this page should enable you to draw up a distribution schedule and calculate the sums due to heirs on intestacy. However, if you would like us to do this for you, please contact us.
We can produce an Intestate Estate Distribution Schedule (see graphic below) for you free of charge along with our report or at any time prior to distribution so that you can be confident that each heir is receiving the correct sum due to them.
For example, please see the Distribution Schedule and Fractional Entitlements charts below in the fictional estate of John Smith.
Family Relationships / Intestacy Law graphic – a visual representation of family relationships and a summary of Intestacy Law.
Downloadable Inheritance on Intestacy Guide – an easy to read chart giving more detailed advice on Intestacy Law and how the estate value may affect who benefits.


The Andy Lane trail is marked with yellow blazes. It is a 2.6 mile connector to the Appalachian Trail that I need to use to get to the middle of a twenty mile stretch of the AT with no road crossings. I had hoped that this would be a well marked and well maintained spur trail, and I was not disappointed.
From there the ascent is steep - sometimes extremely steep - and often muddy (it rained for an hour last night). The Andy Lane Trail climbs 1400 feet to Scorched Earth Gap where it meets the AT.
The sign at the trailhead says it's a 2.3 mile hike, but my GPS measured 2.6 miles on the way up and the same on the way back. That's 5.2 miles of extra hiking I'm forced to do just to get to my starting point on Monday. But it's either hike those extra miles or try to do this 20 mile stretch of Appalachian Trail in two humongous day-hikes from either end. The Andy Lane Trail lets me add a third day to cover the middle. Better not to burn myself out. Once I'm in shape, after maybe a month of hiking, two consecutive twenty mile days would be doable, but not right out of the starting block.
So that's the plan: Hike maybe 8 miles out and 8 back from Troutville on my inaugural hike tomorrow, then come up the Andy Lane Trail on Monday and do maybe 4 miles of AT both ways, and finish up this wilderness stretch with another 8 out and 8 back on Tuesday.


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Only Heart Program Nationally Ranked Again in the Washington Region Washington, D.C., July 15, 2014 – For the second year in a row, MedStar Washington Hospital Center is distinguished as the only hospital in the Washington region with a nationally-ranked heart program recognized by U.S.News and World Report. The 2014-15 U.S.News Best Hospitals rankings honor hospitals that excel in treating patients with the most challenging medical conditions. This marks the 18th year that the Hospital Center has been nationally ranked by U.S.News. This year, just 144 hospitals, or about three percent of the nearly 5,000 hospitals analyzed for the Best Hospitals listing earned national ranking in even one specialty. U.S.News also credited nine of the Hospital Center's other specialties as high-performing: Cancer, Diabetes & Endocrinology; Ear, Nose & Throat; Gastroenterology & GI Surgery; Geriatrics; Gynecology; Nephrology; Pulmonology and Urology. With one of the highest-volume cardiac programs in the nation, MedStar Washington Hospital Center is home to MedStar Heart Institute, which integrates the heart programs and services of all of MedStar Health's hospitals, MedStar's cardiology practices and outpatient centers in Maryland and the Washington, D.C., region. In 2013, MedStar Heart Institute forged a first-of-its-kind clinical and research alliance with world-renowned Cleveland Clinic Heart & Vascular Institute. For the 20th consecutive year, Cleveland Clinic's heart program is again ranked No.1 in the nation. "The data tell the story – a hospital that emerged from our analysis as one of the best has much to be proud of," says U.S.News Health Rankings Editor Avery Comarow. "A Best Hospital has demonstrated its expertise in treating the most challenging patients." U.S.News publishes Best Hospitals to help guide patients who need a high level of care because they face particularly difficult surgery, a challenging condition or extra risk because of age or multiple health problems. Objective measures such as patient survival and safety data, adequacy of nurse staffing levels and other data largely determined the rankings in most specialties. The rankings are available at http://health.usnews.com/best-hospitals and will appear in the U.S.News"Best Hospitals 2015" guidebook, available in August.


Experimental models of neuroendocrine tumour disease are scarce, and no comprehensive characterisation of existing gastroenteropancreatic neuroendocrine tumour (GEPNET) cell lines has been reported. In this study, we aimed to define the molecular characteristics and therapeutic sensitivity of these cell lines. We therefore performed immunophenotyping, copy number profiling, whole-exome sequencing and a large-scale inhibitor screening of seven GEPNET cell lines. Four cell lines, GOT1, P-STS, BON-1 and QGP-1, displayed a neuroendocrine phenotype while three others, KRJ-I, L-STS and H-STS, did not. Instead, these three cell lines were identified as lymphoblastoid. Characterisation of remaining authentic GEPNET cell lines by copy number rofiling showed that GOT1, among other chromosomal alterations, harboured losses on chromosome 18 encompassing the SMAD4 gene, while P-STS had a loss on 11q. BON-1 had a homozygous loss of CDKN2A and CDKN2B, and QGP-1 harboured amplifications of MDM2 and HMGA2. Whole-exome sequencing revealed both disease-characteristic mutations (e.g. ATRX mutation in QGP-1) and, for patient tumours, rare genetic events (e.g. TP53 mutation in P-STS, BON-1 and QGP-1). A large-scale inhibitor screening showed that cell lines from pancreatic NETs to a greater extent, when compared to small intestinal NETs, were sensitive to inhibitors of MEK. Similarly, neuroendocrine NET cells originating from the small intestine were considerably more sensitive to a group of HDAC inhibitors. Taken together, our results provide a comprehensive characterisation of GEPNET cell lines, demonstrate their relevance as neuroendocrine tumour models and explore their therapeutic sensitivity to a broad range of inhibitors.


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text:
The Victorian Highland Pipe Band Association (VHPBA), is the oldest pipe band association in the world, having been established in 1924. In the present day, it is a state branch of the Australian Pipe Band Association, and exists to support Pipe bands in Victoria, Australia.

History
After nearly seventy years of Highland musical contests in Australia, it was at the Maryborough gathering in 1924, Drum Major Lew Zilles OAM ED, broadcast the intent to form a group for coordinating Victorian pipe band affairs. In a meeting at Geelong on 12 April that year, the Victorian Highland Pipe Band Association was formed. It was the first of its kind, anywhere in the world - predating even the Royal Scottish Pipe Band Association.

Initial efforts were focused on ensuring fair competition, including the election of knowledgeable, impartial judges and creating the competition rules. Unintentionally, the VHPBA had also become the national leader on all pipe band issues, and not long after its inception, had members from New South Wales, South Australia and Tasmania, in addition to the many Victorians present.

However, as the pipe band scene in Australia grew in the 1950-60s, associations were formed in other states. Toward the end of this period, it was realised that a national identity to oversee the organisations and coordination of a standardized ruling system was needed. Though only representatives from New South Wales and Victoria attended the meeting that formed the Australian Federation of Pipe Associations, all six states joined shortly after its founding.

Though the national body was responsible for communicating between the organizations, each individual member, including the Victorian Highland Pipe Band Association, retained control over its own state.    This worked well for the next thirty years, until in the 1990s it was felt that the state associations needed to become branches of an amalgamated entity.   In 1997 the Australian Pipe Band Association (Pipe Bands Australia) was created with a Victorian Branch (Pipe Bands Victoria).    The Victorian Highland Pipe Band Association was retained as a separate legal entity (as applied to its counterparts in other States such as New South Wales and Queensland).

External links
 PipeBands Victoria

Pipe band associations
Music organisations based in Australia
Non-profit organisations based in Victoria (Australia)

redpajama_set_name: RedPajamaWikipedia


The leading Independent British folk music website covering Folk, Roots & Celtic Music – including English, Welsh, Scottish and Irish folk music traditions & beyond.
Their music's been described as. is Scotch-Irish while Benedict studied Celtic history at university), combined with a teenage infatuation with more modern forms (Ben, grime; Kitty, Ian Van Dahl an.
Lord of the Dance, which blends traditional and modern Celtic music and dance. Rogan Experience" and "The Rachael Ray Show" and has appeared on "Late Night With David Letterman and Jimmy Kimmel Liv.
As (two-time) Grammy Award winner with his brother, Stevie Ray. year's "Live at C-Boys" with his Jimmy Vaughan Trio. 8 p.m. Oct. 3, Sellersville Theater 1894, 24 W. Temple Ave., Sellersville. Sold.
Recorded live August 2013 and marking 40 years of super Celtic rock group Runrig. This long awaited film was recorded live at the Black Isle Showground, Muir.
The live sets validated the artists' personae: They made regular albums, sure, but when the studio time was done they got on the bus to hit the road and bring the music to the people. It's Too Late.
Fortunately, we live in an era of truly great. open tone of alder as the body wood. It comes in two configurations, S-S-H.
"Carrie: The Musical", 10:30 p.m., Pipe Dreams Studio Theatre, 1099 W Wood St, Decatur. dinner and dancing with a live DJ will be held following Newman Catholic Center's 4:30 p.m. mass in.
Starting with an Irish buffet brunch, this indoor and outdoor festival will have Irish pipers, Celtic dancers, face painters, stilt walkers, and lots of prizes. Live music will play all. and specia.
Food, live. Celtic food and merchants, bagpipes, highland athletics, music and kids area. 9 a.m.-10 p.m. Nov. 3; 9 a.m.- 5 p.m. Nov. 4. $16. 909-7299. Angels Too Marketplace Craft Show — Leman Acad.
LIVE MUSIC. Happy Hour Specials. Six Nation Rugby Games on Live TV. Trivia Game Night. Hours of Operation: MON – SUN 11.00AM -2.00AM. Check Out Our Facebook Page For All That Is Happening In Samuel Beckett's. You Will Not Be Disappointed!!. Please Like & Share Beckett's Celtic Festival Facebook Page For All The Latest News And Updates.
The concert will feature songs of American and inspirational music. The event is free and open. it will position them to thrive and live happy, and healthy lives," said Kirk Ray Smith, president an.
register on the celtic thunder website. ctx show tickets. subscribe. gold fan club subscription. subscribe. green fan club subscription. subscribe. celtic thunder online store. visit online store. ctx 2018/19 calendar. view now. ctx tour tee with cities. view now. ctx mouse mat. view now. for.
Katy Perry's new music was inspired. chapter's". Ronnie Wood wanted to pay tribute to the blues masters who inspired the Rolling Stones.The 71-year-old star and his bandmates. Spotify announce.
Ray Phillips was a member of one of the original heavy metal bands – but prefers classical music.
Ray Schissler, of Parkville and Key Brewing Co. of Dundalk. the 13th Annual Maryland Microbrewery Festival also features live music, crafts, food vendors and more. Join the fun on Saturday, Sept. 2.
Concert of the week Ray LaMontagne "Just Passing Through" tour. More spotlight shows Abbey Road LIVE! Presents "The White.
Flying his ultralight aircraft near the Gull Lake Dam, Ray Nichols of Brainerd was hit by a sudden wind. Additional Articles Recommended by Brainerd Dispatch Performing Arts – Nov. 1 Live Music – N.
Ellis, of Lewisburg, showed the hammered dulcimers, which are leather on one side and suede on the other, metal and wood and "produce different. play traditional American, old-time, Celtic and Scan.
Two well-known folk artists will perform from 6-9 p.m. Sunday at Wood. music, and Myra Gonzales will speak on cake decorat.
Find Irish traditional music sessions near you. menu. Search for sessions on. in search. Newest sessions. The Sawles Arms, St Austell, Cornwall, England Added by ripvanwinkle 2 days ago. The Red Lion, Shoreham By Sea, Sussex, England Added by ceoltas 2 days ago. The Laurel Inn, Robin.
Growing Rural Arts In Nathalia Located in a converted grain store shopfront in the middle of town, The G.R.A.I.N Store is a not-for-profit nationally recognized rural arts center with a history of exhibitions, performances and workshops.
The Vol State Showstoppers will have choreographed performances, while the Vol State Singers will present choral music. Familiar Christmas favorites will be featured by the Commercial and Jazz Music Ensembles, and country musical renditions performed by Bluegrass Ablaze. The concerts are a venue for a CD release of Vol State student work.
Women of KOOP Present Grace of My Heart. On Wednesday, November 7 at 7pm, DJs from KOOP community radio station will present a very special film selection.Allison Anders' GRACE OF MY HEART (1996) is a loving, tune-filled movie about a singer-songwriter (Illeana Douglas) whose life story mirrors that of the legendary Carole King.
Cuando cumplió 10 años su tío le regaló su primera guitarra y a partir de entonces empezó a mostrar interés por la música, algo que no aprobaba su padre (cuyo cargo era la diplomacia).
The babyfaces got things off to a hot start, with The Viper dodging a Brogue Kick attempt by The Celtic Warrior and delivering the RKO. The New Day chastised Bubba Ray and D-Von Dudley on their act.
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Live At Celtic Connection (DVD/Blu-ray) Filmed in January 2011 at the Royal Concert Hall in Glasgow as part of the annual Celtic Connections festival, this superb performance by the Richard Thompson Band marks their first live concert DVD release for five years.
Directed by Declan Lowney. With Celtic Woman, Chloë Agnew, Hayley Westenra, Lisa Kelly. Live at Slane Castle, Ireland was recorded this past August at Slane Castle in County Meath, Ireland, the home of Lord Henry Mount Charles- a gorgeous location that.
Inside, you'll find the makings of an Irish pub, complete with wood paneling. Every Tuesday they have live traditional Irish music performances so you can get your fill of Celtic tunes. As for the.